Billboard : 09/15/1956
Score of 71

A trombone-trumpet formula is not overly common among current jazz combos. To offset the unrelieved brassiness of the sound, Green and Farmer provide variety in the dissimilarity of their conception, attack and general sonority. Farmer is more satisfying from the modernist’s point of view and has the more enterprising solos. General impression is uneven, tho there are good stretches of solid swinging.

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Pittsburgh Courier : 09/15/1956
Harold L. Keith : 3 stars

Bennie Green has to thank Art Farmer‘s sizzling trumpet, Cliff Smalls‘ piano, and Philly Joe Jones‘ drums for the saving of this album from the more acid commentary of this reviewer. The album is one of those things that then jazz aficionado would call “nice.” It’s just plain old jazz with nothing unusual about the improvisations of the combo’s leader, Mr. Green.

Green seems to blow with a minimum of inspiration, using timeworn riffs and living up to his reputation of being “the coolest man I’ve ever seen.”

Somehow one gets the impression on Cliff Dwellers that we have heard all this before and although all that’s good… it’s not good enough to win four-star rating. Top number on the disc is Let’s Stretch which makes the waxing worth its price. Bennie needs a new attack. His conception is rather mouldy and on Let’s Stretch his ‘bone takes a back seat to the vibrant Art Farmer whose swinging style gives a noticeable lift to the rhythm section after Bennie gets out of the way. Here too is ample evidence that Philly Jo has been touched by the art of one Mr. Blakey… sounds good too!

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Down Beat : 10/31/1956
Nat Hentoff : 3 stars

With Bennie are Art Farmer, pianist Cliff Smalls, Addison Farmer, and Philly Joe Jones. Bennie still blows with large tone and infections, relaxed warmth, but his conception has note become significantly developed over the years. In fact, his solos often are interlocked with clichés. Much more original and equally emotional is Farmer who does the best blowing on the date although he has sounded better in other contexts.

Philly Joe keeps everyone alert with his constantly spearing, intense basic beat and crackling cross-rhythms. Addison is firm, and Smalls comps well, but his solos continue to lack stature. As Ira Gitler notes, Smalls “seems to be making a switch from Garner to Silver” although he still returns to bits of Erroll.

The switch is proving beneficial, but there is still almost no immediately identifiable Smalls style.

The “originals” on the date are routine lines. Worth hearing for Farmer and Philly Joe but far from an indispensable record.

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Liner Notes by Ira Gitler

In searching my record collection and memory, I am unable to recall an instance where a trombone-trumpet tandem was recorded. There have been trumpet ensembles and trombone choirs but never one of each instrument to match their degrees of brassiness against one another.

Although Bennie Green and Art Farmer both play brass instruments they approach their respective horns differently. Besides the basic differences between trombone and trumpet (size, sound, and mechanical operation), Green and Farmer mark further variations by their dissimilarity in conception, attack and general sonority.

The Musicians in The Album (Four bar views).

Bennie Green known well for his work with the Earl Hines band (1942; 46-48), Charlie Ventura (48-50). Earl Hines combo (1951-53) and as leader of his own quintets. Features a fat-toned, slurring style with elements of swing and bop, grounded in the blues.

Art Farmer, born in Iowa, raised in Arizona, played in California with Benny Carter, Wardell Gray, etc. Joined Lionel Hampton in 1952 and toured Europe with him. Rose to prominence in New York thereafter in a quintet with Gigi Gryce. Salient factors in his style are warmth, creativeness, and a very personal sound.

Cliff Smalls. Played trombone alongside Bennie in Hines band and also doubled piano when Earl was fronting. In late Forties was Billy Eckstine‘s accompanist. With Bennie Green’s quintet since 1953. Seems to be making switch from Garner to Silver.

Addison Farmer. Art’s twin. Similar playing background. Remained in California when Art left with Hampton. Came to New York in late 1954. Studied at Manhattan School of Music and appeared with his brother’s group and Teddy Charles. Big toned, spirited beat.

Philly Joe Jones. His name identifies his hometown. Appeared with Tony Scott (1953), Tadd Dameron (’54). Since 1955, a backbone of the Miles Davis quintet. Well recognized and no longer confused with Jo Jones. Powerful pulse: explosive, inventive soloist.

Bennie is the lead-off man on My Blue Heaven. After stating the theme he carries on with his improvisation. There is no unison work. Art makes his first appearance with a long-linked solo. Cliff Smalls reveals in his bit, somewhat of a change since his last recordings with Bennie. The descent from Heaven has Bennie carrying the melody with Art playing counter figures.

You pay now, fly now in Art’s Skycoach. Pilot Farmer takes over of the controls after the take off and flies swiftly. Co-pilot Green cruises in and Navigator Smalls handles the craft for a while. The twin propellers, Addison Farmer and Philly Joe Jones keep the plane moving at all times. The special delivery airmail goes through.

Smalls’ Cliff Dweller finds some blue inhabitants in the caves. Wall drawings are by Bennie, a muted Art and Cliff himself.

Gone With The Wind is a slow, lazy breeze blown lushly by Bennie, cooly by Cliff and caressingly by Art.

The Latin flavor is added to the blues for the elongated Let’s Stretch by Bennie. Everyone makes the home half of the seventh and spreads out. Bennie and Art do their best playing of the set on this. Cliff takes an appropriate solo; Addison and Joe have short ones before Bennie and Art trade choruses and then “fours”. Joe makes it a threesome at “fours” before the “south of the border” blues returns.